Hannah Greenstreet writes on Lydia Larson’s hilarious monologue about “the fantasy lives we build to survive”.
Visual richness: Hannah Greenstreet writes on the images of Breach Theatre’s show, which dramatises the story of baroque painter Artemisia Gentileschi.
Pickle Jar is a one-woman show about rape culture, grief, and misplaced guilt.
Warning: this review explodes. Hannah Greenstreet grapples with Rory Mullarkey’s new play.
Edges, borders, barbed wire: Cordelia Lynn’s bomb attack drama explores the ethics of keeping safe.
I’m ready to work: Hannah Greenstreet responds to a frenzied, feminist reimagining of Chekhov with a letter to its creators, RashDash.
Not all porn? Hannah Greenstreet reviews a revival of Sarah Daniels’ play about sexism and pornography
Hannah Greenstreet chats to Ellie Keel, producer of Alchymy – a unique Oxford-based festival that’s all about developing new theatre.
Jodi Gray’s wolfish one-woman play is an exploration of ‘monstrous’ femininity and the male gaze.
â€˜This is not the endâ€™: Hannah Greenstreet reviews an attempt at starting a feminist revolution inside a theatre.
Gets very meta very quickly: Hannah Greenstreet reviews Jen Silverman’s play about five Betties
Words can be weaponised: ten short plays expose the challenges of introducing nuance to the #MeToo conversation.
Hannah Greenstreet sits in on rehearsals for Forward Arena’s queer, time-hopping epic.
Hannah Greenstreet on the “unforced relevance” of an immersive reimagining of Elizabeth Inchbald’s 1792 play.
Playing games: Hannah Greenstreet on a beguiling, political piece about group psychology by Barcelona-based company ATRESBANDES.